| In 3 voice counterpoint vertical chords were treated as a super position of constant intervals above what voice? |
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| What are the possible positions of sonoroties in 3 voice writing? |
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| 5/3-Root Pos, 6/3 First inversion ( 2nd Inversion is not possible because it creates a diss 4th with the bass) |
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| What note is usually doubled in a 3 part chord? what doublings are also possible or rare? |
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| The bass voice is usually doubled, doublings at the unison are possibe, but doublings in the upper voice and at the octave are rare. |
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| Chords used at the opening or conclusion of 3 voice compositions are limited what are the possibilities? |
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| Most typical: octave w double top, octave with doubled bass, 8/5, 8/3, 5/3, 10/5. |
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| What do most 3 pt peices close with? |
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| either a double octave or a unison |
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| what position do diminished triads appear in ? |
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| They appear ONLY in 6/3 (1st inversion) – SO the dissonant interval occurs btw the upper voice. |
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| Augmented triads in what position are VERY rare? |
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| C#, F#, and G# is what and what is NEVER done to it… |
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| It is Ficta and it is NEVER doubled. EVER. |
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| THE one and only case of doubling ficta is what… |
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| what should you strive to do with the voices and what intervocalic span is acceptable between voices? |
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| Strive to keep the spacing between the voices very close, esp in the upper voices, also the total intervocalic span should never exceed a PERFECT 12th |
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| What is permitted in short stretches? |
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| What are the rules for perfect intervals in 3 voice texture? |
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-NO PARALLEL unisons, 5ths or octaves ( hint- sometimes voice crossing can FIX parallels)
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-Unisons are permitted as doubled notes on any beat BUT they must be approached AND left by contrary motion or oblique motions.
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| What is Fauxbourdon Technique? |
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| it is extended passages of consecutive stepwise first inversion chords. (6/3) – not common for the 16th century but SOMETIMES used. |
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| In Direct 5ths what must the voices do simultaneiously? What about direct octaves? |
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One of the voices must move step-wise while the other leaps
Direct octaves are somewhat rare but same rules as teh direct 5ths apply
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| What should you avoid doing with the voices in relation to movement? |
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having all voices moving or leaping in the same direction.
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| What note values must you have in 3 voice passing notes and suspensions? |
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| ONLY Half note values are permitted |
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| what must a half note passing note move against? |
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| single passing notes are common – what direction do they go in? |
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| They can ascend or descend |
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Double passing notes in what are permitted?
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| Double passing notes are permitted in 3rd and 6ths and also contrary motion |
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| What kind of suspension is most common in 3 voice? |
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| The most common sus in 3 voices is 4-3 suspensions. |
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The bass voice may ____ upon the resolution of the suspension but the doublings of the resolution on the next beat is ____
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| 7-6 suspensions are possible in what positions? |
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| 7/3 8/7 and 7/5 ( however in 7/5 the 3rd voice must move upon the resolution or the sus in order to avoid a diss. in the upper part |
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| 2-3 suspensions have four possible positions what are they? |
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4/2, 5/2, 6/2, and 9/2
4/2 and 5/2 resolve to either a root or 1/st inversion triad
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| the 9-8 and 2-1 sus are the same thing… are are very infrequently encountered… what are the more common 9-? suspensions? |
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| Double Suspensions are found in what occasion – what pair of suspensions are NOT found together… |
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7-6 and 4-3, and 9-8 and 4-3….
9-8 and 7-6 together are NOT found
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| The 7-6 sus resolving to an octave in the soprano and tenor for the basic structural duet for what? |
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| what suspension is otherwise known as the authentic cadence? |
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| Where is the plagel cadence encountered? |
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The plagel cadence is normally encountered at the end of a composition
In this plagel cadence the last chord is always a complete triad…
In terms of tonal music it resembles a half cadence
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| The plagel cadence is more of a mini codetta following the more structual ______ cadence |
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4-3
a movement twards the 4 subdominamnt is found over a tonic pedal as a closing gesture.
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| deceptive cadences occur where? |
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Deceptive cadences occur at the conclusion of interior phrases of a piece.
Sometimes the bass of an authentic cadence will not resolve into the octave but more into another tone creating a depceptive formula.
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| What are interrupted cadences used as? |
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They are used as interior punctuation
2 of the voices resolve into 8ves or unisons- while the 3rd part is free to initiate the next point of imitation
* The suspended voice is required to resolve-
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| Dovetailing does what? and what can it be used as- what kind of cadence? |
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| Dovetailing preserves the seamless quality of the polyphony – used as an interior cadence |
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| when does the lead voice of imitation enter in a dovetail cadence? |
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In a dovetail cadence the lead voice of the point of imi enters BEFORE the cadential formula is complete.
the overlap is normally not more than 4 half notes in furation – and is very effective maintaining the rhythmic flow of the music
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| Is the 6/5 sonoroity technically considered a dissonant chord? |
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| no, the 6/5 sonority is not a diss chord. bc both upper voices are intervocalically consonant w the lowest part. BUT bc the diss of a 2nd btw the upper pts the 5th above the bass is treated like a sus. |
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| what beat does a 6/5 sonority always fall on? |
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The 6/5 sonority always falls on a strong beat
(when the sus 5th resolves on the next beat the lowest voice usually moves upward by step)
6/5 is not normally employed as a part of a cadential formula ( but it does sometimes happen)
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| What does free-handling mean? |
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| emphasising the consonant relation of the chordal intervals to the lowest part |
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| What is a consonant 4th used for? |
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a consonant 4th is a device used to prolong the dominant in the bass of an authentic cadence
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| What beat does a consonant 4th happen on? |
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The weak beat above the lowest voice and serves as a preperation for the following 4-3 suspension usually a consonant interval.
Example 5-5
4-3
Interval btw B+A voice
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| Essential harmony leaps may occur in other parts againts what? |
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Black notes/Passing tones.
Leaps must be consonant in BOTH voices however…
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| What does 3 voice imitation always involve? |
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5th relation btw the voices – either a p5 or a p4 up or down
**this principle not only applies to the beg of imitation but any imi within the phrase…..
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| What does Asymmetrical realtion in imitation mean? |
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| It means the the note values of entrance are not the same… |
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| What does symmetrical mean? |
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| The entrance of all the imitations are the same distance apart |
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| Is there a certain voice that must enter first in 3 pt ctpt? |
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| No any voice may enter first |
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| re-entries of the voice remain in the initial pitch class… but you have to keep what? |
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| You have to keep the 5th relation btw the voices. |
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| Can you make tonal adjustmenats and slight rhythmic alterations in reentries? |
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| Yes you can as long as the 5th relation stays the same. |
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| What technique do you use organum in … |
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the practice of basing polyphonic pieces on pre-existant musical material
This is the most common practice procedure– out of 100 Palestrina examples 5 are free counterpoint….
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| what is paraphrase technique? |
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Elaborate quotation of a given chant in one of the voices.
In later stages the plainsong is given to the other voices in the pt of imi.
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| Is the entire chant phrase used when used in paraphase tech? |
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the complete chant is used in its entirety in atleast ONE of the voices if not all.
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| Ellipsis means what in relation to plainsong? |
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| Ellipsis is the omission of one or more notes in a plainsong. |
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| What is the simpliest method to compose a 3 voice canon? |
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| Start w the highest voice and then imitate in the lower voice at the same interval realation (5th or 4th below) @ the same temporal distance – creating symmetrical point of imitation |
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| In symmetrical 3 voice canons in fuga ( exact imi) style – the exact imi is usually what in the consequent voices??? |
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dropped.
so the subject is usually answered by descending 4ths – example – Sop c, Alto G and Bass D
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| why should you be on the look out for 6/3 chords containing 4ths? |
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| They can create tritone problems |
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| what is a problem with setting up cadences in canons? |
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| You have to set up the cadence ahead of time in the top voice so by the time it get to the cadence teh figure is in the bass voice. – use a 2-1 figure in the sop so you can use it in the bass at the cadence. |
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| useing a repeat sign is an example of a what kinda canon? |
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| In 4 voice ctpt there is no overiding tendancy to ______ a particular triadic member ( root 3rd or 5th) |
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| Chords featureing doubled 5ths or 3rds are found just as commonly as ____________ in a polyphonic texture |
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| Doubling _______ is NEVER allowed – what is the ONE exception |
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| Ficta- Bb is the only acception |
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| Parallel Perfect Intervals are _________ |
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| Avoid parallel and ______ 5ths |
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contrary
Example: A-E
E-A
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| What type of cadence tends to me more common as the voice parts increase |
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| what is an imperfetta cadence? |
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| what is the only intervals allowed in final cadences? |
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| The use of nota cambiata on an inner figure is…. |
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| What kind of passing tone is rare? |
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| When 7-6 leading tones are used the final chord will be a __________. |
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complete triad
Exception- 6th resolving to an 8ve and final root positions cadence in a phrygian mode
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| What are the most common suspensions in 4 pt writing? |
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| As a general rule when the number of parts increase …. |
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| The harmonic rhythm tends to slow town. |
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| Minum passing tones are – |
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| Once all the voices have entered in the initial pt of imitation strict 4 part imi ……….. |
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does not have to be maintaining for long periods of time.
One of the opening voices may have even dropped out by the time othe last part enters
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| What is 4 part familiar style? |
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| Pieces that have been set in a basic syllabic manner resulting in a predominatly chordal or homorhythmic style. |
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| In familiar style the upper 3 voices are normally in what kinda structure? |
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| Close structure – less than an octave btw sop and tenor |
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| the consonant chords in familiar style show a striong tendancy twards what position? |
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| What note is usually doubled in familiar style ? |
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| The use of ______ for coloristic or harmonic purpose is used |
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| The most frequent ______ movement btw chords is by p5 and m2 movement asc or desc |
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| What is bifocal tonality ? |
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| alterations btw major and minor keys |
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| What is cantus firmus technique |
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| basing polyphonic pieces on pre-existing material |
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| What is the basic organization feature of 4 part writing? |
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| 5ths relationship to each corresponding mode |
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How do you create paried imitation?
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the 1 and 2 voice come in at a 4th/5th relationship then cadence prior to the entrance of the remaining parts – the 2nd pair imitate like the first voices.
tenor drops out and reenters to start dovetailing to cadence
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| Double canon is a pairing tech in a 4 voice canonic writing where paired imitation becomes 4 in 2 |
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| What is a double subject ? |
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| The initial 2 voices are not related thematically but form minature segments of free counterpoint,. |
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| where does the pairing in both a paired subject and a double subject take place or between? |
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| it takes place btw the sop and alto and the Tenor and bass |
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| What is cantus firmus technique? |
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the technique of placeing a chant melody in the tenor and composing counterpoint above it
( 6th relationship w sop and then filling in alto and finally bass)
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| In a typical Cantus Firmus technique what is the melody based on? |
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pre-existing melody – either in whole or in part….
2 frequent examples and one of the most used are L’homme Arme and the tones of the guidonian Hexachord
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| Dorian starts on what note? |
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| Phygian starts on what note? |
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| Lydian mode starts on what note? |
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| what note does mixolydian start on? |
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| what note does the Aeolian mode start on? |
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| Ionian mode starts on what note |
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